logic pro x compressor circuit type cheat sheet v.1 · ratio transfer curve relation of nominal...
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Logic Pro X Compressor Circuit Type Cheat Sheet v.1.6© 2018 Holger Lagerfeldt @
www.onlinemastering.dk Explanation Platinum Digital Studio VCA Studio FET Classic VCA Vintage VCA Vintage FET Vintage Opto
Inspiration “Inspired by”, not emulation
Original Emagic/Apple design Focusrite Red 3 Urei 1176LN
Blackface dbx 165A SSL G Bus Urei 1176LN Silverface Teletronix LA-2A
Compressor GUI Screenshot
Hardware Photo N/A
Harmonic saturation
level
Higher levels mean more coloration
Low level High level High level Medium level High level High level Low level
Harmonics type
Odd or even order 3rd harmonic only Odd order Odd order Odd order with 3rd
harmonic emphasis Odd order Odd order Odd order
Dynamic interaction of
saturation
How saturation is affected by compression
NoneProportional to compression
amount
Proportional to compression
amount
Proportional to compression
amountFixed Fixed None
Noise in saturation
If non-harmonic noise
is introducedNone None None None High level High level Low level
RMS/PeakIf detection is averaged or peak level
User selectable RMS or peak Peak Peak Peak Peak Peak RMS
Attack & release control
If attack & release are adjustable
Yes Yes Yes No, full auto Yes Yes Yes
Hidden frequency
dependency
If bass can result in more compression
None Small Small Small Medium Medium Strong
User adjustable
kneeIf the knee is
user adjustable Yes No No No Yes Yes Yes
Knee transfer curve
Relation of nominal knee value to ratio
Inverse bell-curve Compound S-curves Gentle bell-curve Gentle bell-curve Linear proportional Linear proportional Linear proportional
© 2018 Holger Lagerfeldt @ www.onlinemastering.dk
Ratio transfer curve
Relation of nominal ratio
value to actual ratio
Linear Gentle inverse bell-curve Linear Linear with forced
soft transition knee LinearLinear with
logarithmic knee near range cap
Gentle logarithmic
Range Max. gain reduction (cap) -48 dB GR -36 dB GR -26 dB GR -44 dB GR -48 dB GR -19 dB GR -41 dB GR
Ratio dependent
rangeIf range varies
with ratio Low correlation High correlation Medium correlation Low correlation No No No
Typical application Often used for
Stuff that needs to stay clean · Pulling
up low levels · External side-chain ducking
Parallel compression (on drums) · Full mix
bus
Peak control on vocals or guitar ·
Smashing (snare) drums · Beefing up
bass
Adding punch on drums or bass
Drum group · Piano · Full mix bus
Same usage as Studio FET, only a
lot more aggressive
Levelling of vocals · Bass · Piano
Usage/settings tip
Your Mileage May Vary
Use Peak and high ratios to shape
signals and control transients. Use
RMS with soft knee and low ratios to smooth overall
levels.
For parallel smash: Fastest attack,
medium release, high ratio. Activate Auto Gain and pull
threshold down. Blend using Mix
knob.
Very fast attack to control the peaks.
Slow attack to emphasize the
transient/punch in bass or drums.
Auto attack/release clamp down quickly, but slow enough to
accentuate the punch. Watch out
for over-compression.
Side-chain HPF @ 60 Hz to reduce
pumping from bass. Use Sum detection to reduce pumping
from loud, wide stereo sounds.
Aggressive settings (high ratio + fastest
attack + fast/medium release) can really pull up
the tail on drums or plucky sounds
Great for smoothing vocals or controlling average level of a
bass. Often inserted after a FET comp that controls the
peaks first.
Explanation Platinum Digital Studio VCA Studio FET Classic VCA Vintage VCA Vintage FET Vintage Opto© 2018 Holger Lagerfeldt @ www.onlinemastering.dk